In the Finder window that opens, select Toon Boom Storyboard Pro 20.It may well be on its way to becoming a classic animated film.TIP If you want to see the license agreement in another language, select a language in the language drop-down above the license agreement. Take any frame from the story and it looks like a painting. The end result is a great movie that looks gorgeous with its 2d characters that blend in positively with the background and the lighting as a cohesive whole. Many of the 3d elements were done in Maya, depending on whether it was easier to create them in a 2d or 3d workflow. since animating them would have been tedious in the 2d space. The usage of CGI was reserved for the animation of certain complex elements, like the ferry, Jesper’s wagon, Reindeers, some of the landscapes, etc. Hence they decided to merge the layout and background teams, which meant that their layout artists were also designing and conceptualizing art as they did their BG layouts. They realized that the closest profile they could get was that of a concept artist, who could draw and paint. Traditional layout artists that could work on high quality feature film work were hard to find. They were able to add brush strokes and textures to the 2d characters semi-automatically and they demonstrated this rendering technology to Sergio Pablos.įinding artists and talented people to work on this project was also quite a challenge for Szymon Biernacki. Even though it was good as a proof of concept, they wanted to make it more accessible and efficient.Īround 2014, Anaël Seghezzi and his team did some tests on few 2d animated shots sent by SPA Studios these were the shots lit by Marcin using the new method he had developed. They released a teaser for the film using this system in 2015.
Knowing the kind of features he needed, they built a prototype software using Nuke. Hence he removed the usage of all the automated computer-generated lighting solutions on the 3d mesh, so as to enable the artist to paint directly with light. Marcin realized that to attain the hand-painted look, it had to be hand-made. Szymon Biernacki and Marcin Jakubowski, the film’s production designers, as well as Anaël Seghezzi helped develop the proprietary tools for lighting and texturing at his company Les Films Du Poisson Rouge, in Angoulême, France.
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